3 ~ 7 ?
#3ti Mo.
TEXTURE IN SELECTED TWENTIETH-CENTURY PROGRAM MUSIC FOR TRUMPET
AND ORGAN, A LECTURE RECITAL, TOGETHER WITH THREE RECITALS
OF SELECTED WORKS OF J. ALAIN, J. S. BACH, G. BOHM,
N. DEGRIGNY, H. DISTLER, M. DURUFLE, J. GUILLOU,
A. HEILLER, W. A. MOZART, E. RAXACHE,
M. REGER, L. VIERNE
DISSERTATION
Presented to the Graduate Council of the
North Texas State University in Partial
Fulfillment of the Requirements
For the Degree of
DOCTOR OF MUSICAL ARTS
By
Beverly A. Howard, B.M., M.M.
Denton, Texas
August, 1986
BP
Howard, Beverly A., Texture in Selected Twentieth-Century Program
Music for Trumpet and Organ, A Lecture Recital, Together with Three
Recitals of Selected Works of J. Alain, J. S. Bach, G. Bohm, N. De Grigny,
H. Distler, M. Burufle, J. Guillou, A. Heiller, W. A. Mozart, E. Raxache,
M. Reger, L. Vierne. Doctor of Musical Arts (Organ Performance), August
1986, 38 pp., 20 examples, 5 figures, bibliography, 33 titles.
This dissertation is concerned with the relationship between the
trumpet and organ in twentieth-century music for this ensemble and how
that relationship effects performance with regard to organ registration
and synchronization. The compositions discussed include The Other Voices
of the Trumpet, by Daniel Pinkham (1971); Jericho: Battle Music, by William
Albright (1976); Three Pictures of Satan, by Jere Hutcheson (1975); and
Okna, by Petr Eben (1980).
The theoretical writings of Pierre Boulez, Robert Erickson, and
Donald Cogan deal with developing a contemporary concept of texture.
This dissertation applies their theory that texture exists in two
dimensions: vertical and horizontal. Stratification and blending of
timbres comprise the vertical dimension. The succession of textures,
governed by tempo, creates the second dimension.
Chapter I provides an historical setting for the genre, intro-
duces the theory of Boulez, Erickson, and Cogan, and supplies the
programmatic content of the four works chosen for analysis.
In Chapter I I , the vertical elements of texture in these four
works are isolated and examined.
Chapter III deals with Pierre Boulez's theory that the succession
of textures, governed by tempo, shapes the work. Each work is examined
with regard to tempo, either mobile (fluctuating) or fixed.
In Chapter IV the analysis is related to performance. Stratified
textures, fused ensemble timbres, and their horizontal progression
present problems for the ensemble in organ registration and synchronization.
There are general guidelines given for registration as well as specific
registration problems encountered in stratified textures and fused
ensemble timbres. Synchronization, or coordination of events is the
second challenge presented by the horizontal progression of textures.
Tape recordings of all performances submitted as dissertation requirements
are on deposit in the North Texas State University Library.
i n
TABLE OF CONTENTS
Page
FIRST DISSERTATION RECITAL v
SECOND DISSERTATION RECITAL
THIRD DISSERTATION RECITAL vii
FOURTH DISSERTATION RECITAL
LIST OF EXAMPLES i x
LIST OF FIGURES
Chapter
I. INTRODUCTION 1
II. TEXTURE: STRATIFICATION AND FUSED ENSEMBLE TIMBRES . . . . 7
III. TEXTURE: HORIZONTAL PROGRESSION 22
IV. PERFORMANCE CONSIDERATIONS 32
BIBLIOGRAPHY 36
IV
North Texas State University School of Music
Graduate Recital
BEVERLY ANN HOWARD, Organ
Monday, June 14, 1982 8:15 p.m. Concert Hall
Prelude and Fugue in C Major Georg Bohm (1661-1733)
Orgelsonate, Opus 18/11 Hugo Dist ler I Rasche, energische Hal be (1908-1942)
I I Einleitung: Sehr erregte Achtel, dabei f re i im Zeitmass
I I I Recht geschwinde Achte? Passacaglia and Fugue in C Minor,
BWV 582. . . . Johann Sebastian Bach (1685-1750)
Toccata in E Minor, Opus 63, No. 9 Max Reger (1873-1916)
Through the Looking Glass Enrique Raxach lb. Ever d r i f t i ng down the stream-- (b. 1932)
Lingering in the golden gleam . . . 3a. Ah, bear in mind this garden was
enchanted! 2, Who the Platonic year
Whirls out new r ight and wrong Whirls in the old instead; Al l men are dancers and the i r tread Goes to the barbarous clangour of a gong
3b. . . .where do you suppose you'd be? la. And i f he l e f t o f f dreaming about you . . .
Mr. Vincent Benitez, Assistant
Tanz-Toccata Anton (1923-1979)
Presented in part ial fu l f i l lment of the requirements for the degree of
Doctor of Musical Arts
North Texas State University School of Music
Graduate Recital
BEVERLY HOWARD, Organ
Monday, August 13, 1984 8:00 p.m. Main Auditorium
Li tanies Jehan Alain (1911-1940)
Prelude et Fugue sur le nom d 'A la in , Opus 7 Maurice Durufle
lb . 1902)
* * * * *
Livre d'Orgue Nicolas de Grigny l ? r Kyrie en T a i l l e , a 5 (1672-1703) Fugue a 5. Qui renferme le Chant du Kyrie Cromorne en Ta i l l e a 2 Parties Tr io en Dialogue Dialogue sur les Grands Jeux
* * * * *
Scenes d'Enfant d'apres The Turn of the Screw d'Henry James Jean Gui l lou
(b. 1903)
Presented in pa r t ia l f u l f i l l m e n t of the requirements for the degree of
Doctor of Musical Arts
V I
Graduate Lecture Recital
BEVERLY HOWARD, Organ
with
LARRY JOHANSEN, Trumpet
Assisted by Kay McAfee
TEXTURE IN SELECTED PROGRAM MUSIC FOR TRUMPET AND ORGAN
Monday, June 16, 1986 4:00 p.m. Concert Hall
The Other Voices of the Trumpet Daniel Pinkham (b. 1923)
And I beheld and heard an angel f l y ing through the midst of heaven, saying with a loud voice, Woe, Woe, Woe, to the inhabiters of the earth by reason of the voices of the trumpet which are yet to sound.
Revelation 8:13
Jericho: Batt le Music William Albr ight I I I Ground-the seven days (b. 1944)
I f the trumpet give an uncertain sound, who shall prepare himself to the battle?
I Corinthians 14:8
Three Pictures of Satan Jere Hutcheson I I Satan's Holiday (b. 1938)
Okna (Stained Glass Windows) Petr Eben I Modre Okno (Blue Window) (b. 1929)
IV Zlate Okno (Gold Window)
Mr. Johansen is an Associate Professor of Music at Cal i fornia Baptist College. He earned a B.A. at Cal i fornia State University at Fresno and a M.M. at the University of Southern Cal i fornia. He is a doctoral candidate at the University of Colorado. Mr. Johansen has studied with Robert Nagel, Allen Dean, Ray Chrisara and Edward Tarr.
Presented in par t ia l f u l f i l lmen t of the requirements for the degree of Doctor of Musical Arts
Vll
North Texas State University School of Music
Graduate Organ Recital
BEVERLY HOWARD
Monday, July 7, 1986 4:00 p.m. Main Auditori um
F a n t a I d J ? / M i n 0 r ' K' 5 9 4 W.A.Mozart Snegro (1756-1791) Adagio
Sinfonietta 1 o a „ r , Ail .. -Jean Guillou Al legretto /u 'iq'5o\ Andante [
Allegro giocoso
INTERMISSION
Quatrieme Syniphonie pour Orgue, Op. 32 . .Louis Vierne
AlTegro (1870-1937) Menuet Romance Final
Presented in part ia l f u l f i l lmen t of the requirements for the degree of
Doctor of Musical Arts
V l l l
LIST OF EXAMPLES
Example Page
1. Petr Eben, Okna , "Blue Window," measures 1-2 . . .
2. Petr Eben, Okna , "Blue Window," measures 1-3 . . .
3. Petr Eben, Okna t "Blue Window,"
4. Petr Eben, Okna , "Blue Window," measures 50-55 . .
5. Petr Eben, Okna , "Blue Window," measures 63-67 . .
6. Petr Eben, Okna , "Gold Window," pages 34-35 . . .
7. Daniel Pinkham, The Other Voices of the Trumpet, p. 15 . . . 13
8. Daniel Pinkham, The Other Voices of the Trumpet, p. 16 . . . 14
9. Daniel Pinkham, The Other Voices of the Trumpet, measures 54-60 . . .
10. Petr Eben, Okna, "Gold Window," measures 48-54 .
11. Daniel Pinkham, The Other Voices of the Trumpet, measure 74
12. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," p. 11
seven days," p. 31 . . . . 18
14. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 8 . 19
15. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 7
16. William Albright, Jericho: Battle Music, "Ground--the seven days," Variation 5
15
16
17
17
20
17. Daniel Pinkham, The Other Voices of the Trumpet. opening segment, measures 1-11 24
IX
E x a mP l e Page
18. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," page 9
19. Petr Eben, Okna, "Blue Window," registral contours . . . . . 30
20. Daniel Pinkham, The Other Voices of the Trumpet. measures 12-14 34
LIST OF FIGURES
figure P a g e
1. Daniel Pinkham, The Other Voices of the Trumpet 25
2. Mobile tempo in The Other Voices of the Trumpet. Daniel Pinkham 26
3. William Albright, Jericho: Battle Music, "Ground—the seven days" 27
4. William Albright, Jericho: Battle Music. "Ground—the seven days" 28
5. Fluctuation Within Fixed Standard, Petr Eben, Okna, "Gold Window" 31
XI
Chapter I
INTRODUCTION
Although a few original works for trumpet and organ can be found
throughout the Baroque period, this genre did not blossom until the
latter twentieth century, when composers were attracted by the timbral
possibilities of the ensemble.
Original music for trumpet and organ first appeared in Girolamo
Fantini's trumpet method of 1638. His collection contained sonatas and
dances for trumpet and organ continuo. Fantini probably performed these
sonatas in concerts in Rome, accompanied by organist Girolamo Frescobaldi.
The Fantini-Frescobaldi programs attracted the attention of their
contemporaries owing to Fantini's virtuosic playing.*
The remaining Baroque works for trumpet and organ include two
sonate da chiesa in Opus IV (1678) by Giovanni Viviani and six chorale
preludes by Johann Krebs (1713-1780). Krebs composed fourteen chorale
preludes for organ and obbligato wind instrument. Six are specifically
for trumpet, with the remaining eight scored for oboe.^
1. Edward Tarr, "Original Italian Baroque Compositions for Trumpet and Organ," Diapason. MLI/5 (April, 1970), 28.
2. Edward Tarr, "Preface" to his edition of The Six Chorale Preludes for Trumpet and Organ by Johann Krebs (Hamburg: Benjamin GMBH-N. Simrock, 1978).
From the mid-eighteenth to the mid-twentieth century, the trumpet
and organ genre was completely neglected. During this hiatus, both
instruments underwent significant structural and tonal modifications.
The trumpet acquired valves, additional tubing, and a wider bore. Its
tone acquired the ability to penetrate the sound of an orchestra.3 The
organ experienced several changes in construction, philosophy of design
and tonal properties, including a period of orchestral imitation and a
subsequent rediscovery of the clarity and beauty of earlier tonal ideas.
In the period of timbral and textural experimentation since 1950, the
trumpet and organ ensemble has received fresh attention. Phillip Cansler,
in his annotated bibliography for contemporary literature for trumpet
and organ, lists eighty-seven works published by 1983.
In the Baroque works, the textural relationship between trumpet
and organ was not complex. In the sonatas of Fantini and Viviani, the
organ functioned as a continuo instrument, supporting the melodic dominance
of the trumpet line, rather than being a source of varying timbres and textures.
In the chorale preludes of Krebs, the trumpet performed the chorale
cantus firmus line in the contrapuntal texture, serving like a solo stop
on the organ.4 Baroque trumpet authority Edward Tarr, who has described
the melody-plus continuo relationship between the trumpet and organ in
these Baroque sonatas, commented in a recent interview that in
3. Tarr, "Original Italian Baroque Compositions," 27.
4. Tarr, "Preface."
5. Tarr, Original Italian Baroque Compositions," 28.
contemporary repertoire the two instruments are treated as equal
partners. This dissertation explores that equal partnership by comparing
textural elements found in four programmatic works for trumpet and organ.
The serial, indeterminate and notational techniques of the
literature for trumpet and organ are conservative when compared to other
music of the twentieth century. One reason is that organ literature has
maintained a close relationship with the church, as evidenced by the
number of chorale-based works, as well as religious programmatic works.
The compositions to be discussed include The Other Voices of the
Trumpet. by Daniel Pinkham (1971); Jericho: Battle Music, by William
Albright (1976); Three Pictures of Satan, bv Jere Hutcheson (1975) ; and
Okna, by Petr Eben (1980). These four works represent a cross section of
contemporary musical style and constitute important additions to the
genre, thus warranting closer scrutiny.
The theoretical writings of Pierre Boulez, Robert Erickson, and
Donald Cogan deal with developing a contemporary concept of texture.
This dissertation applies their theory that texture exists in two
dimensions: vertical and horizontal. Stratification and blending of
timbres comprise the vertical dimension. The succession of textures,
governed by tempo, creates the second dimension. Performers who are
cognizant of the textures involved in this music are better equipped to
make decisions concerning problems in timbre and synchronization.
6. Edward Tarr, Interview at California State University at San Bernadino, CA, February 24, 1986.
The Other Voices of the Trumpet is a serial work for trumpet,
organ, and tape which, according to Pinkham, creates a musical image of
Revelation 8:13:
And I beheld, and heard an angel flying through the midst of heaven, saying with a loud voice, Woe, Woe, Woe, to the inhabiters of the Earth by reason of the voices of the trumpet of the three angels which are yet to sound.
Three-fold repetition throughout the work depicts the three angels.
The opening trumpet fanfare is stated three times, the distinctive opening
eleven bars occur three times in the course of the work, and the addition
of the tape adds a third performer. At the climax of the work, the
entrance of the tape and the use of a black page with white notation, on
which is superimposed the image of three angels blowing trumpets, evokes
an element of the supernatural.
Albright's title and inscription before the final movement of
Jericho, "Ground—the seven days," refer to the report in Joshua 6 of the
Israelites' six-day encampment and march around the city of Jericho. On
the seventh day they marched around the city seven times with trumpets
blaring. As instructed by Joshua, the people shouted and the walls of
Jericho fell to the ground. The movement is constructed upon a twenty-
five beat ground which is grouped in measures alternating in groups of
four and three. The four plus three grouping is a reference to the seven-
day march. Twelve statements of the ground appear before the coda,
perhaps representative of the twelve tribes of Israel. At the conclusion 0f the
movement, this Quotation from I Corinthians 14-:8 appears as another reference
to battle: "If the trumpet gives an uncertain sound, who shall prepare
himself to the battle?"
Three Pictures of Satan, by Jere Hutcheson, are three scenarios
entitled "Satan's Inferno," "'Satan's Holiday," and "Satan's Requiem."
According to Edward Tarr, to whom the work was dedicated, the composer
was interested in exploiting the theatrical side of the subject.7 For
Satan's Holiday" Hutcheson chose a musical syntax based on extended
trumpet and keyboard techniques and indeterminate notation. Toy horns,
capes and directed theatrics aid the program.
Okna, by Czechoslovakian composer Petr Eben, depicts four of twelve
windows created by Marc Chagall for the Synagogue at the Hebrew University
Medical Center in Jerusalem. The Russian-born artist was commissioned to
fill twelve windows with stained glass, one for each tribe of Israel.^
Chagall designed three windows each in which the colors blue, green, red,
and gold predominate.9 Originally Eben entitled his movements by color,
although he later identified specific windows for each movement.
According to the composer, the "Blue Window," or "Ruben," is
descriptive of surging sea waters with birds in the air and fish in the
sea."10 An added element for contemplation is the sun on the window
bearing the inscription from Isaiah 40:12: "Who hath measured the waters
in the hollow of his hand, and meted out heaven with the span, and
comprehended the dust in a measure . . . ." n
7. Edward Tarr, Interview at California State University at San Bernardino, CA, February 24, 1986.
8- Chagall in Jerusalem (author not given) (New York: Leon Amiel Publisher, 1983), 116.
9. Ibid., 162.
10. Peti Eben, The Organ Music of Petr Eben" (Pipe Dreams, broadcasted KVCR, San Bernardino).
11. Chagall. 119.
The "Gold Window," or "Levi," captures the spirit of a solemn
festival represented in glass by the candlelit Torah. Above the Torah,
four heraldic animals of the synagogue surround a vase of offerings."^
T h e Jorah bears this verse from Deuteronomy 33:10: "They shall teach
Jacob thy judgments, and Israel thy law: they shall put increase before
thee, and whole burnt sacrifice upon thine altar."13 Eben based this
movement on a hymn from the Russian Orthodox liturgy as a tribute to the
Russian-born Marc Chagall.
The works by Pinkham, Albright, and Eben exist as expression of
scriptural references, although those references in the Eben are secondary
to the stained glass windows. Hutcheson's "Satan's Holiday" is singular
in its reliance on title, costuming, and theatrics to convey the program.
12. Eben, Ibid.
13. Chagall. 127.
Chapter II
TEXTURE: STRATIFICATION AND FUSED ENSEMBLE TIMBRES
In traditional analysis, texture often receives cursory attention.
It is described as thick or thin, chordal or linear, or metaphorically
likened to threads in a fabric. Contemporary theorists seek to define
texture so that it serves as a viable analytical tool for music of the
twentieth century. Simply stated, a work's texture results from the
interaction of pitches, duration, and timbre.'''
Pierre Boulez calls for a more rigorous study of texture, which
he terms musical space. He applies two terms to texture usually
associated with pitch distribution. According to Boulez, musical space
exists as a vertical and horizontal phenomenon, capable of evolution in
the course of a composition through pitch relationships and their
2 progression in time.
Examination of the equal partnership of trumpet and organ in
comtemporary ensemble literature necessitates analysis of vertical aspects
which include pitch organization, distribution, register, and their
horizontal progression through time.
1. Gary Wittlich, Aspects of Twentieth-Century Music (Enelewood Cliffs N.J.: Prentice Hall, 1975), 66. '
2. Pierre Boulez, On Music Today. tr. Susan Bradshaw and R. R. Bennett (Cambridge, MA: Harvard University Press, 1971), 84.
Broadly speaking, trumpet and organ appear in two textural
situations: stratified textures and fused ensemble timbres. Stratification,
or layering, is easily perceived by a distinct partition of events. Each
layer, or stratum, features its own pitch, rhythmic or timbral identity.
The movements from Okna feature the most consistent use of stratification,
while only portions of the works by Pinkham, Albright, and Hutcheson
illustrate this technique.
Eben's "Blue Window" displays two and three layers easily perceived
by their distinct functions of pitch, rhythm, and timbre. This movement
opens with two distinct figures which serve as pitch and rhythmic reference
for the strata of the entire movement. The theme of the movement emanates
from the basic cell (023) shown in Example 1.
Example 1. Petr Eben, Okna, "Blue Window," measures 1-2.
The last note of this first phrase of the theme elides with the
beginning of a triplet ostinato as shown in Example 2.
Example 2. Petr Eben, Okna, "Blue Window," measures 1-3.
Con motb pirs/stcnti J • 02
Manual*
•mf
1 ' . —
•mf I—r- U - i —
$
The triplet ostinato and slower theme combine to form the three layers
shown in Example 3:
1. 2. 3.
the theme delivered by the trumpet the keyboard continuation of the triplet pattern the pedal as supporting bass.
Example 3. Petr Eben, Okna, "Blue Window," pages 5-6.
A
: :
hair! IjpPjl— cca fx
10
As part of the developmental process, the strata change positions. In
the two layers in Example 4, the thematic material forms the bottom layer
and the ostinato pattern is transferred to the trumpet.
Example 4. Petr Eben, Okna, "Blue Window," measures 50-55.
©. ,
" I
Example 5 illustrates a third arrangement with the theme in the
trumpet, ostinato in the pedal, and an eighth-note echo of the theme
filling the middle register in the keyboard.
Example 5. Petr Eben, Okna, "Blue Window," measures 63-67.
© _
(pocof)non Uf.
11
Strata with distinct functions (melody, accompaniment, and harmonic
support) provide the predominant texture in the "Blue Window." The
opening section of the "Gold Window" features two strata which function
independently of each other. The movement opens with two strongly
differentiated layers. As shown in Example 6, the organ presents a
metrical chorale-style harmonization of a Russian Orthodox hymn (harmonized
in r>b) while the trumpet plays a free rhapsodic melody. The organ
continues the chorale ad libitum with the trumpet eventually taking up
the chorale tune in D at rehearsal number 1. Two layers are clearly
separate because of the dual tonal centers (Bb and D) and the lack of
synchronization between trumpet and organ.
Stratification occurring on the black page in The Other Voices
of the Trumpet is a result of timbral contrasts. Example 7 illustrates
a multi-layered texture incorporating tape, a sustained organ cluster,
and a trialogue between tape, organ, and trumpet. The sustained cluster
provides a background layer for the activity between tape, trumpet, and
pedal. The tape initiates the trialogue on the second system, followed
by the trumpet imitating the tape's figure. The pedal acts as the third
member of the trialogue. The three-fold repetition of this event and
dynamic and timbral differences between the instruments help distinguish
each layer.
Like Eben, Pinkham rearranges the strata. In Example 8 the tape
takes over the cluster, now transformed to an ascending figure, while the
organ and trumpet take over a rhythmic figure based on two linear pre-
sentations of the row.
12
Example 6. Petr Eben, Okna, "Gold Window," pages 34-35,
Fdst/vo ( J -88 )
Or<f.
senamkS (Jnhapai t)
©J, p~»/
pocoj (ma soltanCo 8' 4* «v. 16')
13
Example 7. Daniel Pinkham, The Other Voices of the Trumpet, p. 15.
Clfd.liVJC;
V i V m m
ftS*ft*
Y.>r *
i&ir m;: WiffrT&at
' ; , r ' ! ;
struhkt mutt
i ^ H L I E F ^ S ^ r l sob®!?
Example 8. Daniel Pinkham, The Other Voices of the Trumpet, p. 16.
s trine J = 6 0
Tit t i l rnmmvn tenti Ihtu rlutltTt. Brtin to mov« vhin tap! fiturt irftni. Continue mictnt until iapt *»Cini il, thtn itof) mntl mt.
Da not synchronize ^ trumpet and organ. G j rTS
chenft stops
After ascendwf Jifurt btfinsn thi tape the or/fan enters.
14
The combination of trumpet and organ lends itself ideally to
polyphonic writing, described by Boulez as the diagonal distribution
of structures. The Other Voices of the Trumpet and "Gold Window" from
Okna feature examples of canonic writing that lead to a climactic point
in each work. To increase tension in the second major section of The
Other Voices, Pinkham deployed the pitches of two different transpositions
of the original row in a canon a quarter-note apart. In Example 9 (m. 54),
the initial pitches of the dux and comes enter at the interval of a
second. The canon continues between keyboard and pedal in m. 57, rising
to a climactic verticalization of the row in m. 60.
"Gold Window" features canonic imitation between trumpet and
organ beginning at the distance of three eighth-notes. At rehearsal
number 7, Example 10, Eben specified an 8' trumpet stop, making this use
of canon a blend of timbres because the trumpet and organ share the same
register and timbre.
3. Boulez, On Music Today. 119.
15
Example 9. Daniel Pinkham, The Other Voices of fhp Trnmnpt 54-60. —1-—'
measures
16
Example 10. Petr Eben, Okna, "Gold Window," measures 48—54.
If , f f ^ g
i y • S • ? 1 ,-4^-
1 /' ~ " , i
•A—ir — r ^ . r - — •
* )r
1 - ' f r - - - - — i *
1
Textures which feature a more complex blending of timbres than
the Eben example are termed fused ensemble timbres. Robert Erickson
coined the term in this definition:
In extreme contrast with layered textures are those composite sounds which I have called fused ensemble timbres. These aim for a blend of contributing elements in which timbral particularity is submerged in the more general sound of the whole.4
Such a fusion creates the shimmering effect which initiates a
section in The Other Voices. As illustrated in Example 11, the organ
sustains a double trill, eventually joined by the trumpet. Placing the
4. Robert Erickson, Sound Structures in Music (Los Angeles: University of California Press, 1975), 165.
17
trumpet register below that of the organ and muffling the bell of the
trumpet in a cloth bag contribute to the fusion of timbres.
Example 11. Daniel Pinkham, The Other Voices of the Trumpet. measure 74.
/T\luxra
Hutcheson and Albright used this technique at climactic points
in their works. In the final seconds of "Satan's Holiday," the trumpet
repeats the pattern shown in Example 12 an indeterminate number of times,
playing as rapidly and as evenly as possible. When the organ begins
alternating the bracketed clusters, sounding the same pitches as the
trumpet in the same register, a fusion of timbres takes place. Depending
on the tonal quality of the organ's reeds, the degree of fusion may vary.
Example 12. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday " p. 11.
18
The Coda of "Ground—the seven days" presents a longer section
of fusion which makes great technical demands on the trumpet. From the
beginning of the Coda, an assistant sustains a dyad on Bb-C on the swell
manual. Throughout the Coda, the trumpet settles on Bb and C exclusively,
as found in Example 13. The organist joins in playing the Bb and C. The
three performers release the notes simultaneously, leaving the trumpet to
sound the note D. Albright's refined use of this technique differs from
Hutcheson's because Albright alternates tremolo and trilling between
the two instruments. While the organ plays a measured tremolo, the
trumpet trills. Then they exchange figures.
Example 13. William Albright, Jericho; Battle Music. "Ground—the seven days," p. 31.
| l — " " L ' (•"">) • • *" - 3 1 '
y*Tvt=3Fuulfi
( iLi l\u iL-t f
t)\i A M l « A i ( r t a i r t i i M n J , "
cwfw? s ~ — -
19
In Variation 8 of the "Ground," a special blending of the two
instruments occurs. The trumpet and organ lines elide as shown in
Example 14. The effect is that of a single, continuous line.
Example 14. William Albright, Jericho: Battle Music. "Ground—the days," Variation 8.
seven
ill' L:
I - l{.. \ ^
-I
I- :""j
Frequently, stratified textures and fused ensemble timbres are
sharply delineated as in the preceding examples. However, there exist
compositions which are ambiguous as to textural types. For example,
the structural concept of "Ground—the seven days" is that of a passacaglia,
an ideal vehicle for a layered texture. The ground, in fact, does provide
one layer. Some variations, such as the one in Example 15, present two
other layers; i.e., manual arpeggiation and a trumpet counter-melody.
Example 15. William Albright, Jericho: Battle Music. "Ground—the seven days," Variation 7.
20
Tr.
Org.
[JtRi* form
—*P crcKL.ytt».*_j?ica.
However, the variation in Example 16 features the ground as a support
for a web of polyphony out of which the trumpet emerges.
Example 16. William Albright, Jericho: Battle Music. "Ground—the seven days," Variation 5.
Tr.
j / f j h t f a * rm"3' "j trrj 4 * ' 4
( * * ) FT FT—1
fr - ^ r L S ^ j n * rAit« i n
tiHtizarWii (c-r/mnt»iu Aiieinp*-
/•••*/ , .
r
fiiec? .
21
These works reveal several uses of stratification: Eben relies on thematic
and rhythmic elements in differentiation of the layers. Pinkham uses
timbral contrast as the dominant feature in his strata. Both composers
use canon.
The separate elements of stratification and fused ensemble timbres
provide local color. For example, the triplet ostinato pattern in "Blue
Window" is a common musical metaphor suggesting wave-like motion. The
t a p e l n T h e ° t h e r V o i c e s suggests the supernatural. However, as seen in
Eben's and Pinkham's rearranging of the strata, these textural elements
are not static. The inventiveness of the composer is revealed in the
succession of these textures, or the horizontal dimension.
22
Chapter III
TEXTURES: HORIZONTAL PROGRESSION
Pierre Boulez describes the succession of textures as horizontal
progression, or tempo, using a term usually applied to pitch analysis.
He recognizes two types of horizontal progression: fixed tempo and
mobile tempo. A fixed tempo remains constant for an entire movement,
progressing according to a fixed standard, or metronome marking. Mobile
tempo can be either directed, fluctuating from one fixed standard to
another, or non-directed, without a fixed standard for reference.^ All
four compositions utilize varying degrees of mobile tempo, either directed
or non-directed, which the composer employs to help clarify each work's
individual structure,
The use of mobile tempo in The Other Voices clarifies structure and
focuses attention on the climactic section of the work. Michael Corzine
views the formal organization of this work as ABCADA, basing his sections
on tone-rows, texture, and tempo.2 The A section contains an eleven-bar
segment so distinctive in register, motive, and tempo that it serves as a
1. Boulez, On Music Today. 51.
2. Michael Corzine, The Organ Works of Daniel Pinkham (D.M.A. dis-sertation, Eastman School of Music, 1979; Ann Arbor, Michigan: University Microfilms 8005139), 198.
23
ritornello underpinning the entire structure. This segment, shown in
Example 17, features stile brise distribution of the original series.
Figure 1 visually represents the static register of measures 1-11,
especially when compared to the wider registral distributions which follow,
lhe lack of progression and the at 132 tempo in this segment create
tension which is partially relieved by those sections where the tempos
fluctuate.
Figure 2 shows the sections and corresponding tempos. Section
C only briefly departs from a fixed standard, then resumes the original
tempo followed by a directed ritenuto to ) at 99. The tape's entrance
on the black page, initiating Section D, coincides with the longest
fluctuation from a fixed standard. This seeming suspension of time
draws the listener to the interaction between tape and live performers.
The final statement of A restores the tempo primo. providing closure
and balance for the composition.
Although structurally the final movement of Jericho relies on a
ground, the correlation between the suggested tempo increases and the
number of attacks (notes) in each variation direct the work to its climax.
The suggested tempo increases are:
First statement of the ground through Var. 3, J at 56 Variation 4 J at 60 Variations 5-8 } at 66 Variation 9 ) at 72 Variation 10 at 84 Variation 11 ) at 92
Based on the ground length of twenty-five quarter note beats per variation,
there is a straight line increase in beats per second versus tempo as
illustrated in Figure 3.
24
Example 17. Daniel Pinkham, The Other Voices of the Tr„mpPt- opening segment, measures 1-11. — p 8
Allegro con brio J * 132
Trumpet iaG
Organ
4 • mf Itggttni
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25
S t CN
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26
Figure 2. Mobile tempo in The Other Voices of the Trumpet. Daniel Pinkham.
SECTION A B C A D A
TEMPO J =132 J =132 N F ^ =132 --?'99 J =132 NF-*J =60->132 J =132
MEASURE 1 40 72 93 JQA 105
(Black Page)
NF = Non-Fixed Standard
To plot the progressive density in the variations, the attacks for
each variation were counted for the individual instruments and the ensemble.
Then calculating the attacks per second, Figure 4 shows the increase in
density in each variation.
The figures fail to reflect the rhythmic diminution of the ground
in Variations 10 and 11 and the ground's inversion in Variation 11 as
other contributing factors to the work's intensity. The octave doubling
of the ground in both variations intensifies the dramatic impact.
Mobile tempo least affects the structure in "Satan's Holiday."
The composer instructs the performers to play events as fast as possible
or moderately or fast. The tension created by the build-up of sound mass,
Example 18, on the second system is alleviated by the theatrics which
follow. However, three tempo markings stand out in this movement as
fixed standards within a variable field. Two of the fixed tempi ( J =60,
J = 69) appear with a specific motive that the trumpet sounds. The
third metronome marking J = 66 sets the tempo for the last four notes
of the movement.
27
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28
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Example 18. Jere Hutcheson, Three Pictures of Satan. "Satan's Holiday," page 9. ~ — —
29
T « i . : D*nnm tkt letter *c»r»(tcA., Wa* J gesture t'c -
. » « » w u u v,b.) «*;
Ct.: full - i r - 1
*»i4l
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The "Blue Window" is singular in that it exploits the elasticity
of a fixed tempo: within each phrase, the pitch contours rise and fall.
This motion is reflected on a larger scale by the rise and fall of each
sections' registral contour, seen in Example 19. The synchronization
of trumpet and organ undergoes a similar ebb and flow. Although the
30
Example 19. Petr Eben, Okna, "Blue Window,t! registral contours.
numbers. CD
pe <bl O
0
31
entire movement progresses at a fixed tempo of J at 132, Figure 5
shows those sections in which the organ maintains the ostinato patterns
ad libitum while the trumpet theme escapes from the barlines. Sections
involving exact synchronization alternate with sections of independent
relationship. Whenever the two instruments are synchronized, time
returns to sharp focus.
Figure 5. Fluctuation Within Fixed Standard, Petr Eben, Okna, "Gold Window."
REHEARSAL NUMBER
OPENING 1-3 4-5 6 1_ 8-9
Organ T & 0 T & 0 Organ T & 0 T & 0
Non-sync Sync Non—sync Sync
T & 0 = Trumpet and Organ
Organ = Organ Alone
Non-sync = Non-synchronized
Sync = Synchronized
Each of the compositions acquires its own personality by the way
the composer manipulates the horizontal dimension of texture. Pinkham
relies on recurring register, rhythmic distribution, and mobile tempo to
shape the large structure. While the ground ostensibly shapes the large
structure in Jericho, tempo modulations and rhythmic diminution pace the
drama of the work. Tempo is the least important structurally in "Satan's
Holiday." Eben uses mobile tempo and fluctuation within a fixed standard
to distort time.
32
Chapter IV
PERFORMANCE CONSIDERATIONS
An understanding of textural elements of a work enables the
performers to give a lucid performance of a composition. Stratified
textures, fused ensemble timbres, and their horizontal progression present
challenges for the ensemble in organ registration and synchronization.
The organist who performs with trumpet needs to consider some
general guidelines in registration. With the variety of tonal designs
available today, the organist must be flexible when considering a choice
of stops. Contemporary composers often indicate only general pitch
levels such as 16', 8', or 4', or indicate contrasting dynamic levels as
in Plena or The Other Voices.
The organist needs to adapt the music to the instrument at hand.
Although Albright and Hutcheson wrote their works with a three-manual
instrument in mind, they provide suggestions on how to adapt their music
to two-manual organs. Occasionally the keyboard compass of a particular
instrument is less than five octaves, rendering it inadequate for some
literature. In such circumstances, it is necessary to remove the
fundamental or 8' pitches and to play passages an octave lower than
written.
Finally, certain organ stops can conflict with the trumpet in
tuning. Unless specified by the composer, it is advisable to avoid
strings, reeds (especially trumpets), and stops with celeste tuning.
33
Performers should strive to achieve a balance between the two
instruments. Stratified textures and fused ensemble timbres require
different approaches in registration. In stratified textures, each
layer needs to be heard clearly according to function. In Example 3,
the trumpet renders the theme, the keybard provides an accompaniment
pattern, and the pedal supports the harmony. In this situation the
keyboard needs to provide a solid, but not overbearing, registration.
On the average instrument, a combination of 8', 4', or 8', 4', 2' will
suffice. The pedal should provide adequate depth with 16' and 8'.
In choosing stops for the multi-layered texture in The Other
Voices (Example 7), the performers must be able to hear the sustained
organ cluster while the tape plays. The score indicates subtle timbre
changes of this cluster: strings, flute, oboe, and principal. The swell
box is to remain closed. When circumstances dictate that this work be
performed on an electronic organ, it is important to realize that strings
and reeds on electronic organs tend to blend into the tape sound so well
that cueing is difficult. The organist needs to substitute stops which
penetrate the tape's sound.
The goal of those passages incorporating fused ensemble timbres
is the blend of the two instruments. In examples 12 and 13 the fusion
is more effective if a Trompette is included in the registration.
There exist special passages where the composer blends the
instruments by either doubling the parts or merging two lines into one.
In Example 20 from The Other Voices . the trumpet doubles the melody line
34
with the organ. In this passage (from ra. 12-13) the organ maintains a
forte while the trumpet line is marked with softer dynamic markings.
Example 20. Daniel Pinkham, The Other Voices of the Trumpet, measures 12-14.
lirico
; '• *_t r r T I
- 9 -J--;—^ i >1 til——tie=. i j L- !1 i 1 Li! L y i r. i
"i'tir-* " (r ' '
As long as the organist maintains a clear registration, neither muddied
by 16T nor confused by reeds, there exists no problem of balance.
Synchronization, or the horizontal progression, proves the second
challenge in this literature. With adequate rehearsal and sufficient
cueing, coordination of those sections of mobile tempo in Pinkham, Hutcheson,
and Eben is not a formidable task. However, the small gradations of tempo
in the Albright present a problem. The sense of urgency conveyed by that
35
movement is partially achieved through small, specific tempo increases.
This collective stringendo is not easy to manage unless the ground
establishes the meter shifts. Unmetered flourishes, separating several
of the variations, furnish opportunity for the performers to shift
mentally to the new tempo.
When the trumpet and organ genre was revitalized in the mid-
twentieth century, composers utilized textural processes common to other
literature of the twentieth century. With the application of Boulez's
concept of texture as a vertical and horizontal phenomenon, the music
yields examples of stratified textures and fused ensemble timbres.
Composers vary differentiation of layers by relying on thematic or rhythmic
association> as in "Blue Window," or contrasting timbre, as in The Other
Voices of the Trumpet. Pinkham, Albright, and Hutcheson fuse the two
instruments into a single timbre for novel effects.
The inventiveness of the composer is revealed in the horizontal
progression of texture as governed by tempo. Mobile, or fluctuating tempo,
shapes structure to some degree in all four works. Structural clarification
by this means is most obvious in the Pinkham and Albright. Hutcheson
works almost exclusively in a variable field. Eben manipulates the
synchronizations of the trumpet and organ within a fixed tempo.
These four compositions are valuable contributions to the genre.
Those performers willing to learn and to program any of these original
works for trumpet and organ will be enriched musically and aesthetically.
36
BIBLIOGRAPHY
Books
Arnold, Corliss. Organ Literature: A Comprehensive Survey, Vol. I, Metuchen, N.J.: Scarecrow Press, 1984.
Barzun, Jacques. Berlioz and the Romantic Century. Boston: Little and Brown, 1950.
Boulez, Pierre. On Music Today, tr. by Susan Bradshaw and R. R. Bennett. Cambridge, MA: Harvard University Press, 1971.
Cansler, Philip. T. Twentieth-Century Music for Trumpet and Organ. Nashville: The Brass Press, 1984.
Carse, Adam. The History of Orchestration. New York: Dover Publications Inc., 1964.
Chagall in Jerusalem. (author not given). New. York: Leon Amiel Publisher, 1983,
Clendenin, W. Ritchie. A Modern Edition of Girolamo Fantini's Trumpet Method (1638). Boulder: Empire Printing Company, 1977.
Cogan, Robert and Escot, Pozzi. Sonic Design: The Nature and Sound of Music. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1976.
Corzine, Michael. The Organ Works of Daniel Pinknam. D.M.A. dissertation, Eastman School of Music, 1979; Ann Arbor, Michigan: University Microfilms, 8005139.
Erickson, Robert. Sound Structures in Music. Los Angeles: University of California Press, 1975.
Orrey, Leslie. Programme Music. London: Davis-Poynter, Ltd., 1975.
Read, Gardner. Contemporary Instrumental Techniques. New York: Schirmer Books, 1976.
Reed, Douglas. The Organ Music of William Albright: 1965-1975. D.M.A.
dissertation, Eastman School of Music, 1977; Ann Arbor, Michigan: Univeristy Microfilms, 7708848.
37
Stockmeier, Wolfgang. Program Music, tr. by A. A. Howie. London: Oxford Univeristy Press, 1970.
Wittlich, Gary. Aspects of Twentieth-Century Music. Englewood Cliffs N.J.: Prentice-Hall, Inc., 1975.
Wuorinen, Charles. Simple Composition. New York: Longman, 1979.
Articles
Ashforth, Alden. "Linear and Textural Aspects of Schoenberg's Cadences," Perspectives of New Music XVI (1978), 195-224.
Doksider, Timofej. "Articulation or Bowing on the Trumpet," Brass Bulletin XXXI (1980), 35-44.
Hantz, Edwin. "An Introduction to the Music of William Albright," Diapason LXIV/6 (May 1973), 1, 4-5.
Landale, Susan. "The Organ Music of Petr Eben," Music XIII/12 (December 1984), 40-43.
Reckziegel, Walter. "Georg Joseph Vogler," Die Musik in Geschichte und Gegenwart, ed. Friedrich Blume. New York: 1966, XIII, 1894-1905.
Reed, Douglas. "William Albright's 'Four Fancies for Harpsichord'," Diapason (1981), 12-13.
Stevens, Thomas. "I Chose to Address Myself to New Music Rather Than New Trumpet," Brass Bulletin 5/6 (1973), 47-53.
Tarr, Edward. "Original Italian Baroque Compositions for Trumpet and Organ," Diapason MLI/5 (April 1970), 27-29.
Vinton, John. "Texture," Dictionary of Contemporary Music. New York: E. P. Dutton and Co., 1971, 741-753.
Wuorinen, Charles. "Notes on Performance of Contemporary Music," Perspectives of New Music III (1964), 10-21.
Tapes
"The Organ Music of Petr Eben," Pipe Dreams, broadcasted KVCR, San Bernardino, CA.
38
Interview
Tarr, Edward. Interview by author at California State University at
San Bernardino, CA, February 24, 1986.
Scores
Albright, William. .Tprirho: Battle Music. New York: C. F. Peters, 1976.
Eben, Petr. Okna. Schweiz: Barenreiter Verlag Kassel, 1980.
Hutcheson, Jere. Three Pictures of Satan. New York: Seesaw Music, 1975.
Krebs, Johann. The Six Chorale Preludes for Trumpet and Organ, ed. Edward Tarr. Hamburg: Benjamin GMBH-N. Simrock, 1978.
Pinkham, Daniel. The Other Voices of the Trumpet. Boston: E. C.
Schirmer, 1972.